When Strauss entered the studio in early 1926 to conduct Beethoven's Seventh Symphony he had already made a number of acoustic recordings for three companies over a period of several years. This, however, was his first electrical recording and the first time he had recorded anything other than his own music. Whereas most companies opted for the Western Electric system to replace the old acoustic process, Polydor at this time used the 'beam of light' system. This was inferior in that it produced an acid treble sound and a harsh, boxy bass. Transfer engineer Ward Marston has done very well to equalize this sound as best he can, and the result is strong and clear, if still less than attractive to the ear.
The performance is highly distinguished; classical and objective in style, but with finely judged rubato and plenty of energy and expression. Alas there is a large cut of 171 bars in the finale. This was made in order to accommodate the movement on to one side, and so get the whole work on to four records. Here Polydor followed a precedent set in their acoustic recording of the work by the now forgotten Walter Wohllebe, but how strange it is that Strauss should have agreed to compromise his endeavours in such a way.
By 1928, when Strauss came to record Beethoven's Fifth Symphony, Polydor used a similar recording system to that of rival companies. Even the best efforts of Marston cannot conceal the fact that at this time their orchestral sound was still inferior, however, and a characteristically flat, nasal quality is present. Again, the performance is superbly judged; classical, elegant, but very strong. Rhythms are clear-cut and beautifully sprung, and phrasing typically direct and lucid.
Strauss's recordings have always been curiously under-regarded and neglected, though admittedly some of them have their problems. Koch, DG and Pearl have now made available on CD many performances by this great composer and conductor, and their enormous historical importance must surely be obvious.'